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Somewhat related to your Komaeda autism post, but did you know that FTD can often be mistaken for mental disorders like depression, bipolar, OCD, autism, etc.? And vice versa? I always thought it was interesting and I like playing with the idea that Komaeda got misdiagnosed with FTD because of that overlap. Idk it's just fun to think about (also because a lot of typical FTD symptoms really don't match with him imo so it could be a fun explanation idk)

Disclaimer: I have zero expertise in this.

I was actually just discussing that with someone! I'm not sure that's possible, though? Because of his age I feel like it would have taken a lot of red flags (or a lucky coincidence) for doctors to consider dementia at all, and there's no way they wouldn't have confirmed it with brain scans. @cry-stars recently told me about a case in Japan where a guy in his 20s had dementia mistaken for depression for aaageees, so I could see him being the same.

So I could see him being misdiagnosed as something else- or correctly diagnosed with something he has on top of the FTD, attributing FTD symptoms to that- for years before having it corrected to FTD, or luck leading to brain scans/cognitive tests getting him diagnosed out of nowhere, but not the reverse of the former.

I still really love reading meta on potential comorbidities, though! On top of the post-traumatic stress there's no way he doesn't have. I've read some neat perspectives on him from people with OCD and BPD, but I don't have them myself so I can't add anything to those discussions.

The Curious Absence of Masculine Pride and Competition : Diagnosing Why Male Characters Sometimes Feel OOC in Fics

For all the mockery that's been leveled at male writers fixating on the sexiness of female characters with lines like, "she titted boobily down the stairs," (deriding how male authors have POV female characters thinking about their own boobs an absurd amount) I think it's worth noting that female* writers often do the same for male characters, just not for physical traits, but rather for emotional openness, humility, and vulnerability.

(*There's going to be a lot of sweeping generalizations in this essay, but the gender nomenclature is being used as shorthand and is intended inclusively. Likewise, any mention of "cultural norms" is from a US/Anglosphere perspective and not intended or expected to speak to all experiences.)

Men in female-written fanworks often cry a lot more than their canon counterparts. They're emotionally available and vulnerable a lot more often, especially with their romantic partner. They're more permissive about letting another person tell them what to do or letting someone else see them in an emotionally or physically vulnerable state.

This is not a criticism of works that do this. Oftentimes, what fic is specifically addressing is a desire to see something that isn't in canon, or isn't in canon as much as the writer would like, and that often includes a character opening up in an emotionally vulnerable way, especially to their lover.

But, if you've ever wondered why a male character in fic sometimes don't feel quite right, please feel free to read on. I've spent a lot of time thinking about this, mostly to address OOCness in my own works, and I wanted to share my thoughts with those who might have puzzled over this question as a reader or as a writer.

(Some fandoms mentioned below the cut: Our Flag Means Death, Captain America, and Punisher.)

Let's start with a common scene: a male character has gone through an incredibly difficult time, fighting bad guys, losing loved ones, or going through a stressful experience. Maybe they're falling in love with another character but don't know if that love is reciprocated. Everything would be so much easier if they would just talk about their internal conflict!

Then the man gets drunk. Finally, while inebriated and crying into his cups, he admits he's in pain, or that he's in love, or that he's scared. This is an emotionally powerful moment that reveals a lot about the character and fandoms tend to eat that stuff up. Yet, when fanworks include this character, they include facts we learned from that time they were drunk, but they don't get the character drunk. The character just says the same things.

The vulnerability of that male character's confession has been included in the fanwork but the obstacles to him being vulnerable and the build-up of what it took for him to reach a point where he could be vulnerable have been largely removed.

I can give a few examples, like Steve in Captain America 1 going to get drunk to deal with the loss of Bucky, only to find he can't which means he's struggling to open up even with Peggy about what Bucky meant to him. Or the often derided need for war movies to put men into extreme scenarios just so they can hold their buddy as he dies. Women sometimes tease the emotional constipation of the need for a man to get drunk or be in an extreme situation before he can hug his male friends, but men I've spoken to like my partner find those moments more true and resonant than scenes common in fic, where male characters start weeping about their feelings the moment they're asked. That's because there are a lot of social restrictions around showing vulnerability to other people, especially other men. And as cathartic as those moments might be on screen, they're also rare. This adds to the power of the scene when an emotionally closed-off or intimidating action hero kind of guy suddenly opens up about the pain he's in, but it's not just a deliberate use of scarcity to make the moment resonate.

The thing is, you'd never know how rare it is for a male character to cry or open up about his feelings based on how often they do so in fic. To go back to Steve Rogers in the MCU as a character, I think the man gets maybe one scene per movie where he has a short, stilted dialogue with someone very close to him about the pain he feels or the fears he has? Those moments are heightened because they're rare but they're also kind of realistically rare. A lot of guys just don't go "bleeding" all over the place. It's kind of a huge problem societally, actually.

To go to another example, I've seen a lot of fics for Our Flag Means Death predicting Season 2 and a lot of them have Ed as an emotionally shattered mess because of Stede's perceived abandonment. Now, OFMD is a very unique story in how often it does allow its male characters to be vulnerable. Fic writers can point to moments on screen of the characters crying and being vulnerable with each other, not the case with every fandom source material. But, I think what's being overlooked is that in Ed's "blanket fort" scene and in the final shot of him sobbing in Stede's bed, he is alone. He has hidden himself rather than be seen crying in public. When he does come out of the cabin to sing about his feelings, he specifically notes how scary it is to be emotionally open like that and Izzy as the voice of Masculine Restrictions shuts him down because of it, showing that there was a reason in Ed's mind that was confirmed by the narrative for why he might want to hide those feelings and that vulnerability from the world. It's not right, it's not fair, it's not the way things should be but that's not the point. The reason Ed opening up was powerful and a singular moment was because it was in spite of those societal restrictions and norms.

Men in general aren't being constipated with their emotions and their emotional truth because they're being deliberately difficult. They do it largely because there is a lot of cultural pressure put on the need to do so and a lot of social punishment leveled at those who cry in public or admit something hurt their feelings. This is where masculine pride comes in to, the need to be seen as strong is a huge social imperative thrown at men. The need to be the best at what you do, to not show weakness, and to show constant strength and mastery are enormous burdens they're expected to uphold.

On the one hand, it's why moments where those restrictions shatter are such catnip to fic writers, but on the other, I think it should be noted that they're catnip scenes because they're very rare. Works written created by men spend a lot of time building up to those moments and earning them, not letting a guy cry until his buddy dies in his arms, not letting him say what's going on or that he feels weak unless he's impaired with alcohol or in some other extreme situation like locked up in an elevator with another character until they finally admit what's going on inside them.

Now, let's get into the craft of writing for a second. One thing writers, especially newbie writers, struggle with is obstacles. Obstacles are what stand between your character and their goals. They can be emotional or physical or mental or symbolic. How a character deals with obstacles is what makes us get to know them and get to like them, it's how we learn about who they are as people. Stede and Ed from OFMD, or Captain America, or any other character you can think of would all approach a locked door in a different way. That locked door is an obstacle to what they want: what's on the other side of the door. How a character approaches the locked door tells us who they are. Do they shoot the doorknob? Bash through it with their shield? Test the knob and sigh comically when it's locked? Pick the lock? Do they go around back and look for another way in? When the character gets through the obstacle, the audience experiences a certain amount of catharsis and pleasure, if the creator has done their job right.

Now, masculine pride and social restrictions are an obstacle to the characters getting what they want. A really delicious and tantalizing one for many, especially if you're writing romance: what will it take to get this guy to admit he's in love? Some fic writers though want to skip cracking open the hard outer shell and just go straight to the juicy vulnerable center. And that's ok! Maybe you don't want to write an entire novel about Frank Castle, the Punisher, or any other macho tough-guy character getting worn down to the point he breaks down crying about the pain he's in. Maybe you just want to write the scene where he sobs in the arms of his best friend about it, just go straight for the catharsis.

But, if you're writing a longer work and you can't put your finger on why the Punisher feels out of character, well, it's because a tough guy character like that usually doesn't want to open up. It's gonna take some intricate rituals for him to be allowed to touch the skin of another man or a woman for that matter. These obstacles to him opening up tell us more about the character and they also serve as the meat on the story for the audience, who wants it to feel special when this guy finally does open up. If he was bleeding his innermost feelings and emotions all over the place, those moments wouldn't feel as special, or realistic, or important. Fic writers who just want more of that moment understandably write fics that just go straight for the pay-off, but the wait and the rarity of that moment is what makes the character, especially a male character, feel in character and plays to the traits like being the strong, silent, stoic type that attracted people to that character in the first place. Therefore, keeping or including or simply being mindful of those obstacles to a male character being emotionally vulnerable also plays to why people liked those characters in the first place and will make your story feel more authentic.

Aside from emotional vulnerability as something men avoid showing, there's also male pride as a motivator. A guy who sets out to be the very best at something probably has a fair amount of masculine-typical pride motivating him or as a trait the creator of that character keeps in mind while writing him.

Stede from Our Flag Means Death is a fairly effeminate man and that's actually a pretty big plot point. It's a plot point in how it makes him lash out at those like Nigel Badminton who don't take him seriously enough, and his wrestling with what it means to be a man is a huge part of his emotional journey in the show. If he just wanted to go to sea, he could have run off and joined someone's crew, but instead, he built a ship and styled himself as a captain, and worked as best as he could to be worthy of the title of "Fearsome Pirate Captain", often to hilarious results, but again those obstacles to him being what he wants to endear him to us. But make no mistake, he wants to be those things. He wants to be his own version of the masculine ideal of a powerful leader, killing with kindness instead of weapons, but he still wants to be one.

Conversely, Ed in the show wants to be soft but it's a jealously guarded secret for him, because he has succeeded in the masculine ideal of being a fearsome pirate captain, and felt incredible pressure to hide that he wanted softness in his life. Even as he was trying to overcome those masculine restrictions he was intensely aware of them.

If one were to write these characters without them being aware of masculine desire to be a fearsome pirate captain and masculine fears around being seen as wanting softness in their life, that makes them behave a certain way to hide this about themselves, they'd be missing a huge chunk of what makes these characters tick.

Again, I don't want to tell people how to write fic. But for those this resonated for with an eye towards their own writing, keep in mind the qualities of masculine pride and competition when writing male characters, as something they're at least aware of even if they're not concerned about it within your particular story. These societal imperatives and obstacles are minefields in the lives of many men and are built-in as expectations for many male characters, especially those by male creators. To ignore these qualities and expectations will make the character somewhat OOC, it might make them behave differently in your story than they might in canon, if canon-realism is what you're going for.

Consider talking to a man in your life about how another man would react to a certain situation, what it would take for them to be vulnerable, or how they'd react if another man saw them in a vulnerable situation. Cis male writers aren't the only ones who get other genders wrong and while it doesn't have to be a consideration your fiction takes, it can help one write more realistic male characters to ask these questions and include these common emotional and societal barriers to vulnerability in your work.

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(Context)

I haven't been finishing any genuine or serious art. Take the Rantaro I drew in whiteboard.

In school mode, Sakura says she wants to put an end to her attraction to him, insinuating she will instead want to date Naegi. The argument that she can't be with Aoi (or any character that isn't Kenshiro, for that matter) loses weight here. Clearly, she isn't dating him as admitted here OR knows she can not be with him forever and she fully has the potential to move on.

“You shouldn’t ship Sakura with Aoi because Sakura canonically has a boyfriend!”

1. Sakura and Kenshiro have mutual interest in each other, that doesn’t mean they are dating. Kenshiro is never referred to as Sakura’s boyfriend.

2. Kenshiro is literally dying, it’s completely understandable that Sakura moves on and is able to fall in love again. Even if he wasn’t, Hope’s Peak has changed Sakura and she’s discovered new parts of herself.

3. I can ship whatever I want. #Sakuraoi4ever

I'm alive. I'll redraw this later.